Tuesday, February 28, 2017

Tactility, Transparency, Paint and Flowers

Sarah Morris at Petzel. Gallery Link

The urban landscape is designed within the perfectly manufactured surfaces of these paintings.
Tracy Miller at Ameringer, McEnergy, Yohe. Gallery Link
Joyful explorations of raw paint (detail of the above)

Many of the paintings on a small scale, smaller than how I remember her work before -- but somehow the reduction adds to their chromatic range - transparency has to do a lot more work, and does so.
Perhaps an influence as well - the great Helen Frankenthaler, whose contribution to painting will continue to magnify with time.
Annabeth Rosen's debut exhibition Tie Me To The Mast, at PPOW - pure exultation in process, texture, echoing images. Gallery Link 

Strange, prehistoric, textural monuments. Loved the surfaces most of all, from an accomplished ceramicist working steadfastly for years. 

At DC Moore, Robert Kushner, working in an airy vein in Portraits & Perrenials: Gallery Link

Many collages, on odd surfaces such as mementos from Asia and old newspaper photographs

My favorite.

Kushner installation.
Missed Allison Gildersleeve's Unruly, but saw this painting in the back room at Asya Geisberg. Gallery Link

Now showing there, Michael Ryan Ford. Gallery Link

Gallery Link Katerina Grosse at Gagosian, last day.

Strange and wild paintings - sprayed, chromatic. The color was hard to take without  breaks for neutrals, which her dimensional work would automatically supply.
Beautiful flows of material
and strange breaks of space.
David Humphrey at Fredericks & Freiser in I'm Glad We Had This Conversation. Gallery Link
Light, airy, sensitive relationships established throughout the show, rewarding movement.
Print moves, hand-made.
Colliding with alternative applications.
Conversing. Making Sense.
Details like this are lovable.
As are color zones that make alternative spaces and figures possible.
Relating again to the sculpture and base, orange to orange.
David Humphrey, installation view, front room.
Ron Gorchov at Cheim & Reid. Gallery Link

The small, shaped canvas rotate outward, pushing the imagery into space. 
More recessive, shell-like imagery as well - on a much larger scale, paradoxically.
Edward Dugmore's 1960s paintings at Loretta Howard. Gallery Link

Beautiful, topographical works and delicate drawings inspired by western lansdcapes. 
Peter Bonner's allover fields and Kylie Heidenheimer's urban grids, paired in Thicket: Gallery Link

Claire Corey's hybrid digital print / painting
Lovely transparencies from Becky Yazdan

Seren Morey's tactile painting
Raphael Zollinger's wetly applied grounds, wiped down to investigate the stratosphere.
Flowerscapes by LC Armstrong at Marlborough: Signals at Sunset. Gallery Link
These are fully painted paintings, no blank canvas exposed. The internal light comes from glazing and color.

Figures from the artist's life or archetypical pairings populate these  fictive terrains, in which flowers become giant witnesses.
Birds and barbed wire, from 2017, a beautiful  painting with the sweet cat lower left.


Detail from a larger work, simple marks creating transparent rhythms. 

The multi-panel painting in its entirety
Poetic winter garden, in which the city becomes protagonist or foil for the flowers.

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